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The 

RED GROSS 

NURSE 

A PLAY IN SIX SCENES 



Giving the Actual Experiences of an 
American Girl. 

BY 

Mrs. Sue Froman Matthews 

Author of 

Grandmother, A Tale of Old Kentucky, etc.. 

In Collaboration With 

Miss Lida Hafford 

Kentucky State Supervisor, American Red Cross 



Price, Tvrenty-flve Cents 






Copyright, 1917, by 

Mrs. Sue Froman Matthews and Miss Lida Hafford. 

All Rights Reserved. 



PLEASE READ CAREFULLY 
The acting rights of this play are reserved by the 
authors. Performance is strictly forbidden, unless their 
express consent has been obtained. Attention 
is called to the penalties provided by law for any in- 
fringements of their rights, as follows : 

"Sec. 4966. Any person publicly performing or represent- 
ing any dramatic or musical composition for which copy- 
right has been obtained, without the consent of the proprie- 
tor of said dramatic or musical composer, or his heirs or 
assigns, shall be liable for damages therefor, such damage 
in all cases to be assessed at such sum, not less than one 
hundred dollars for the first and fifty dollars for every sub- 
sequent performance, as to the court shall appear to be just. 
If the unlawful performance and representation be wilfui 
and for profit, such person or persons shall be guilty of a 
misdemeanor, and upon conviction be imprisoned for a period 
not exceeding one year." U. S. Revised Statutes, Title 60, 
Chap. 3. 

For permission to present "The Red Cross Nurse,** 
Address the authors at 

1930 Duker Avenue, 

Louisville, Ky. 



FEB 16 1913 

©cm 489 91 



SCENES OF THE PLAY. 

SCENE I. 
A Red Cross Work Room. 

SCENE II. 
Farewell Gathering. 

SCENE III. 
A Battle Field at Verdun. 

SCENE IV. 
Base Hospital — Surgical Ward. 

SCENE V. 
Same — Convalescent Ward. 

SCENE VI. 
Back in America. 



CHARACTERS. 



Red Cross Nurse Yetta Sherman 

^, . . { Leonora Howe 

Musicians I g^r^ G^yle 

Elocutionist Anne Kathryn Coghill 

Soloist Dolly Evans 

"Long Boy" Sarah Salyers 

Ella Mundy 
Juliet Goslee, 

Bride's Alaids J Ruth Ramey, 

Isabel Calvert 
Ruth Bet Coghill 
kAnnolia Pr>'or 

Maid of Honor Grace Tandy 

Best Man Harold Ramey 

Minister John Norman 

Flower Girl Mildred Winslow 

Ring Bearer Wm. Geier Deatherage 

Hero John Way 

Boy Scout Norman Llewellyn 

Mary Caroline Conway 
Mary Emily Donaldson 
Ida Cooper Pryor 
Alarguerite Grobmyer 
Wink Stringfellow 
LMaud Deweese, etc. 



Red Cross Workers 

(as many as practicable) 



'John Bovard 
T. M. Minish 

Soldiers J Wm. Adkinson 

(as many as practicable) | Jos. Green 

Stanley Grobmeyer 
.Earl Whitehead, etc. 

Note. — The ladies and gentlemen, whose names appear 
above opposite the different characters were the ones 
who took part in "The Red Cross Nurse," at its first 
presentation. 



THE RED CROSS NURSE. 

Scene I. 
Soldiers march through audience to stage. Boy Scout 
picketing in front of the curtain. A tiny girl in Red 
Cross Uniform sings "Three Cheers for the Red, White 
and Blue." 

A Red Cross Wofk Room. 
(Piano, table, scissors, machine, chairs, banners, etc. 
Girls dressed in white, with Red Cross coif. Anne 
Kathr>'n Coghill working on a jacket; Mary Caroline 
Conway sewing on a pair of pajamas; Isabel Calvert 
sewing on a machine, etc., all talking and working busily 
when the curtain rises.) 

Leonora Howe — Knitting is harder to do than sewing, 
but it is more aristocratic. 

Mary Caroline — What makes you think so? 

Sarah Salyers — Because the ladies of the New York 400 
knit. Don't you remember the woman who knitted 
a pair of socks and sent them to a soldier, with a 
perfumed note, saying, "Accept these with my love 
and prayers. I got one a little small, but it will 
stretch, and the other I tried to make larger. If it 
is too large, it will shrink after it once gets wet in 
the trenches." The soldier used one to carry his 
cigars in and the other for a knapsack. 
(Knock at the door, enter Maud Deweese, in street 

attire. Anne Kathryn greets her and presents her to 

the other girls.) 

Maud Deweese — I have decided, girls, that I will join 
the Red Cross and work with you, too. Won't you 
teach me to knit a wash-cloth? 

Anne Kathryn — 'Why, yes, if you insist upon learning to 
knit the wash-cloths, but there are so many other 
things which are more important. Wouldn't you 
like to see what we are doing? 

Maud Deweese — Why, yes, I surely would. 

Anne Kathryn — Well, then, if you are going to join our 
work room, you must have a cap. Dolly, see 
if you can't find one for Maud. 
(While the cap is being put on, the girls comment on 

how becoming it is, etc.) 

Anne Kathryn — Now, Isabel, show Maud what you are 
making. 

Isabel — Why, this is a surgeon's apron. (Puts it on.) 
I am just taking off the pockets which some one 
has put on this apron. You know no surgeon would 
ever have time to use a pocket, and some of those 
dreadful little germs might collect in there and jump 
out when the surgeon is operating. 

Ruth Ramey — (Promenading up and down) — Just look 
at this shoulder wrap that I am making. It is just 
like the old-fashioned nightingale. 



Sarah Salyers— Say, girls, how does that differ from the 
German aeroplane? 

ALL— We give up. 

Sarah— It has wings, but is 'armless. 

Anne Kathryn — I am knitting a sleeveless sweater. It 
is just like the old-fashioned hug-me-tight. This is 
the twent3'-third one I have made. 

Mary Caroline — Did you send them all to the same boy? 

Anne Kathryn — No. silly, how could one boy wear twen- 
ty-three sweaters? 

Leonora Howe — I am knitting a wristlet. I think it is 
nicer to send to one's lover than a sweater, for it 
holds his hand, and that is so much more dignified. 

Maud — She always was such a bashful little thing. 

Ruth Bet Coghill — Have you seen the hospital bed shirt ? 
This one was made to open in the front, so that the 
pocket rests calmly on the shoulder blade, instead 
of over the heart, where it belongs, and I am mak- 
ing it over now. 

Mary Caroline — (Holding up pair of pajamas) — Well, 
you aren't any more industrious than I am. This 
is the third pair of pajamas I have made today. 

Sara Gayle — Say, girls, you all know that prim old maid, 
a sister-in-law of Dr. Henderson? 

^LL— Yes. 

Sara — Well, she came to the Red Cross rooms the other 
day, and said that she would be glad to sew for the 
Red Cross, but she must request that these white 
garments be called Summer Suits, for she should 
blush in thinking she was sewing on a pair of gen- 
tleman's pajamas. 

(All laugh). 

Isabel — Just like her. 

Annolia — Well, this is the most interesting of all — the 
"Comfort Kit." (She takes out the articles, one by 
one, holding them up and explaining what they are.) 
Girls, you see this trench mirror? It is made of 
highly polished steel and is as clear as a French 
mirror. It will not break either. The boys wear 
it over their hearts, and they say it has saved many 
a soldier's life. 

Ella Mundy— 'Wouldn't it be interesting if that very mir- 
ror would save one of our brother's lives? 

Annolia — And here's his pipe. You see he will have a 
few dreams. 

Ella Mundy — Yes, pipe dreams. 

Marguerite — And, girls, here's a tablet. I have written 
my name and address on the fly-leaf. If he writes 
to me, I will let you know about it. 



GIRLS — All right, don't you forget. 

Annolia — And that finishes my "kit." 

Sara Salyers — Seems to me that everything went into 
that kit but milk. (All laugh.) 

Mary Caroline — You might add a cake of milk choco- 
late. 

Maud — Ida Cooper, what are you doing? 

Ida Cooper — Oh, I cannot tell a lie. I am knitting a 
sock. They say that I have done better than any 
of the other girls, for I have knit one inch in two 
days. 

Anne Kathryn — Listen, girls, yesterday, old Mrs. Mason 
came down from the mountains and asked to knit 
some socks, because so many of the mountain boys 
have been drafted. She was given some yarn and 
needles and, really, she knit one pair in two hours. 
But, when they were handed to Mrs. Winslow, she 
looked them over and, holding them up, said, "See, 
here, you have left out the heel and have not knit 
out the toe." "Oh," said Mrs. Mason, "Them's jist 
like I make 'em for my man, and he will wear one 
pair all winter and never need darning." "But their 
toes will get cold," urged Mrs. Winslow. The old 
lady replied, "A leetle might, but a man's heel is 
tough hide." 

Mary Emily — I think I could make a good suggestion 
to the army officers. 

Jidiet — Wise little girls, what is it? 

Mary Emily — Don't you think some plan could be found 
by which the socks could be taken off of the soldiers 
who are killed and saved for the live ones? 'Twould 
make less knitting to do. 

Ruth — And doubtless there are more dead than live 
soldiers. 

Sarah Salyers — Well, let's change the subject and talk 
about something more cheerful. See this operating 
legging? This is put on the soldier, when the oper- 
ation is not on the lower limbs, to keep up his 
vitality and the circulation of the blood. I have just 
composed a poem about the operating legging. If 
you like, I will read it to you. 

"I'll tell you a secret, don't mention it, please, 
Let's make just oodles and oodles of these 
And send them over about December one, 
Just as the holiday season's begun. 
Imagine old Santa Claus' dismay 
(Somewhere in France on Christmas day) 
When he sees a million socks like this. 
And has to fill them with Christmas gifts." 



Ida Cooper Pryor — Well, I don't agree with you on that. 

Sarah — Why, what's the matter? 

Ida Cooper — Why, that "Somewhere in France." 

Sarah — What's the matter with that? 

Ida Cooper — Our soldiers will be in Berlin on Christmas 
Eve. (All cheer). 

Grace Tandy — Well, this is a bed sock made out of 
scraps, because, you know in war times you can't 
afford to waste anything. It wouldn't be a bad idea 
to have a million of these on the other side of the 
mantle Christmas Eve, would it? 

Ida Cooper — Say, girls, I saw something the other night 
that I never will get over. 

Girls — What was that? 

Ida Cooper — The moon. (Ever>^body groans). 

Marguerite — Say, that reminds me. You have read of 
the Albinos, who have pink eyes? Well, yesterday, 
I met a lady who had lovely eyes : one was brown 
and the other was blue. Both pretty eyes, but 
so odd. 

Sara Gayle — Well, I saw a girl who, from her forehead 
straight down her nose, across her mouth and down 
to her throat, the whole left side of her face was 
black. (Sara follows with her finger down her 
face, when she is telling the story, marking the 
line). 

Ella Mundy — How odd, and the other side white? 

Sara — Oh! No, the other side was black, too. 

Anne Kathryn — Go on, girls, and practice those songs. 
Mr. Green may call on you any day to sing at one 
of his conventions. 

Wink — He has already held h^s State Convention, 

Anne Kathryn — Don't you know he is now on the Na- 
tional Committee, and is organizing State Con- 
ventions all over the country? 

Leonora — He'll never ask us to sing in (make local 
hits), but he may ask us to sing in . 

Juliet — ^You have an unworthy opinion of our ability. 
(Knock). 

Enter Boy Scout — Here's a telegram for Miss Yetta. 

Anne Kathryn — Well, she hasn't been here this after- 
noon. You will have to take that to her home. 

Grac^— What do you suppose that telegram is? 

Sarah — Oh, I suppose it's a message from one of her 
many suitors. 



Anne Kathryn — I wonder — ^Well, girls, go on with your 
practicing. 
(Dolly, Maud, Isabel, Grace, Sarah gather around the 
piano and sing several patriotic songs; then they begin 
on "Good-Bye Germany." All sing "Uncle Sam is Fix- 
ing up for War.") 

Sarah — Let's not stand here like a lot of kids. Stand 
out here and sing, imagining we have a fine audience 
of great men and politicians. 

Mary Emily — Who, for instance? 

Sarah — William Jennings Bryan, Theodore Roosevelt, 
Mr. James Garfield and the Honorable Mr. Greene. 

Ruth Bet — And Mr. (make local hits) and Air. . 

Orace — They aren't politicians. 

Isabel — Mr. (some one-horse politician). 

Leonora — (Striking the piano hard). Sing. 
(They all sing "Uncle Sam ") 

Sarah — Oh, wait, I wasn't ready. 

(They begin again "Uncle Sam ") 

Sarah — I beg your pardon, my music is upside down. 
(They begin again "Uncle Sam is Fixing up for 
War.") 

Sarah — It seems to me he is already fixed. 

Dolly — Please don't stop and spoil our singing. 

(All sing "Uncle Sam ." Sarah's music slips 

and falls on the floor.) 

Sarah — Well, that w^asn't my fault. 

Dolly — Well, whose fault was it? 

Sarah — Mr. was looking at me. 

(All sing "Uncle Sam is Fixing up for War.") 

Sarah — I flatted that d or else you were sharp. 

Dolly — You are generally FLAT. 

Sarah— WtW, you think you are SHARP. 

Mary Caroline — You are like the girl v/ho said she could 
sing soprano as well as any one, only she sang it a 
little lower. 

Ruth Bet — Imagine the harmony. 

Marguerite — Girls, do quit squabbHng and practice. 

Sarah — All right, we'll sing this time, for third time's 
charm. 
(All sing — "Uncle Sam "). 

Sarah — No, this isn't the third time, it's the fifth. 

Dolly — Please, Sarah, pay attention and let's all begin 
with the first chord. 



Isabel — No more fooling. 

(Leonora begins at the prelude and Sarah sings out 
full and strong with the first note, then stops and 
stares at the others.) 

Dolly — Don't you know the prelude from the chord to 
begin with? 

Sarah — But you said to begin with the first chord. 

Isabel — Seven is our lucky number. We'll sing this 
time, and if you don't sing, we'll sing without you. 
(All sing the whole song well.) 

Enter — Yeita. (In street attire.) 

Yetta — Your song was too happy. My mood is for 
something more serious. 

Mary Emily — You, serious? It is the first time; what 
can have happened? 

Yetta — My application to go as Red Cross nurse has 
been accepted. I sail next week. 

Wink — But aren't you glad? You have been praying 
for it for months. 

7^//a— Yes, I am glad. Still the parting with home 
and friends makes one a little melancholy. 

Mary Caroline — (Coming forward) — What will we ever 
do without you? You are the life of all our parties. 

Ella Mundy — Say, Yetta, be gay and happy one more 
time for our sakes. Let us give you an old-fash- 
ioned "Good-bye party," will you? 

Yetta — Sure. I will enjoy anything you do for me, but 
it will only make me more sad to leave. 

Anne Kathryn — Cheer up, Yetta. You will get to see 
the world, go to France, do a lot of good, have a 
consciousness of having done a glorious deed, meet 
your fate and come home and be happy ever after. 

Yetta — (Seriously) — See France, do good, meet my 
fate, come home, be happy ever after? I hope your 
words are prophetic. 

Marguerite — Suppose a U-boat sinks your ship? 

Leonora — Then she will be happy ever after, because she 
is one who is sure of heaven. 

Sara Gayle — Put away such serious thoughts and let's 
plan for the party. Dolly, you and Ruth plan the 
program and Maude and I will get out the invita- 
tions. 

Maud — Will you come to my house? 

ALL — Yes, sure — that's central and you have such a 
nice, large parlor. 

Yetta— WeW, good-bye, girls, till tomorrow night. I 
have to see my grandmother and a lot of friends 
who are going to feel pretty bad. 



Sarah — Your grandmother will be the bravest of all, for 
she has such perfect faith in the Lord doing what 
she prays for. 

Yetta — And I have faith in her prayers. 
Exit. 
Curtain. 

Scene II. 
Farewell. 
(A parlor, decorated for special occasion. Guests alt 
in evening dress. Some sitting engaged in low conver- 
sation, some standing). 

Curtain rises. 
Enter — Yetta. Guests look up and greet her, as they 
naturally would. She greets back, 

Maud Deweese — (Standing, goes to meet her and leads 
her to a chair that has been decorated with bunt- 
ing and placed at the front of the stage opposite 
the piano. Yetta sits down.) 

Wink — Yetta, you must try to forget all about the ocean 
trip and the horrid war and the U-boats, and just 
for this evening enjoy the program we have pre- 
pared for you. We have done our best. (A pro- 
gram of songs, recitations, piano solos, etc., follows, 
forming the main entertainment of the evening. . 
Use best talent available.)* 

Wink — The last on our program is an original song,, 
composed in love of our guest of honor. Dolly will 
sing the solo part, and we will all join in the chorus. 
But, before we sing, I want to present you, 
Yetta, with a little pocket Testament. The value 
of it will be in the fact that we have all marked 
our favorite verses, and written our names on the 
margin, so that when you read, you will be sure to 
think of us. 

Yetta — (Rising), My heart is too full of gladness and 
sadness to make any kind of a speech, but you know 
how I appreciate everything, and your own hearts 
will tell you what I should like to say. 

Dolly rises and sings. Rest remain seated. 

Tune (At the Cross. Verses very slowly, chorus faster.)- 

"Farewell dear girl, we love you well, 

And all our hearts are true. 
And when we work or while we play 

Our thoughts will be with you. 

Chorus. {Faster). 
"You'll come back, you'll come back and be glad that 
you went 
For the good that you did in the fray. 
And with peace at home, and the foe subdued, 
We'll sing and be happy all the day, 

*"IiOng Boy" sung by tall girl in soldier's coat and hat, and. 
carrying a gun, adds humorous touch to program. 



•*'Tra la la, la la la, Tra la la, la la la ; (brightly) 

The burden of the war rolled away. 
Tra la la la, la, Tra la, la, la, la. 

We'll sing and be happy all the day. 

^'We know that you are brave and good 

And under God's own care. 
And so by faith we'll worry not. 

But wait for answered prayer. 

Choriis. 
'^'You'll come back, you'll come back and be glad that 
you went. 
For the good that you did in the fray, 
And with peace at home and the foe subdued, 
We'll sing and be happy all the day. 

"Tra la la, la la la; Tra la la, la la. 

The burden of the war rolled away. 
Tra la la la, Tra la la la la, 

We'll sing and be happy all the day." 

i^Maiid — Now while we have our refreshments, we 
will enjoy the Edison. Small dishes of cream and 
Vvafers brought in. Not much time taken in eating. 
Music going all the time. — To be used, if prac- 
ticable.) 
Ruth and Juliet come forward with a large flag. Yetta 

rises ; they drape her in the flag. 
Ruth — Wherever you go, this flag will protect you, 
because it represents our nation, "and blessed is the 
nation whose God is the Lord." 
(Then all form a circle around Yetta and raise hid- 
den flags and sing to the tune of "Mar>dand, My Mary- 
land," the song to Old Glory.) 

"Lift high the banner that we love; 
Victor>' 'tis singing. 
Let every nation on the earth, 
Hear our voices ringing. 

Choriis. 
"Yes, lift the lovely banner high ^ 

Like morning's crimson glory. 
With field as blue as God's own sky. 
Every star a stor>'. 

"Throw down the guns, outsound the bells. 

In the rocking steeples ; 
And let our chorus throb and swell 
O'er a happy people. 

Chorus. 

'"Now for our darling flag we sing, ! 

Pride of all the nation. 
The flag that never knew a king. 
Freedom's constellation." 

Chorus. 
Curtain., 



Scene III. 
Battle Field at Verdun. 

(With curtain down, let tramping across the stage 
begin. Curtain up — light indistinct. Refugees fleeing 
across stage. Refugees with shawls over their heads, 
several mothers carrying babies on their hip, babies 
crying. They carry all kinds of bundles, drop them, run 
back for them. Confusion everywhere. Soldiers march- 
ing across the stage in rear and, while still marching, 
curtain down and at least 24 guns shot off, two and three 
at a time, and then more at intervals. 

(Curtain rises on dead and wounded soldiers strewn 
about. Two nurses at work at the back of stage giving 
water or lifting to better position. Give plenty of time. 
Near front, the hero painted very white, with some red 
ink on shirt, one arm fast under him. Yetta, kneehng 
by him, relieves the cramped arm. John (feebly). Please 
— take— one — kiss back — to — mother. Yetta — (kisses 
him long and tenderly. (If the kiss is not real and very 
long and tender, the whole point of the play is lost.) 

John — (opens his eyes, looks at Yetta). That kiss 
brought me back — to life. 

Yetta — (Smiles down at him, then motions for some 
one. Two soldiers enter with a stretcher and car- 
ry him off the stage.) 
Curtain. 

Scene IV. 

Field Hospital. 

At least three cots occupied by soldiers. Nurses in 
attendance, taking temperature, etc. On the cot near 
the front is John. Yetta, sitting beside him, reads aloud 
the third chapter of First John, Verses 1-3; 11-24. 
Curtain. 

Scene V. 

Convalescent Ward. 

Several soldiers in convalescent robes, head bandaged, 
arm in sling, etc., sitting around, nurses in attendance. 
Boy Scout enters, bringing letters from home. One 
boy dictating letter to nurse. John and Yetta walking 
slowly across the stage. Her arm supports him and his 
arm is across her shoulders. 

Yetta— Yon are stronger today, aren't you? 
John— Yes, but I don't want to get all my strength 
back. 



Yetta— Why, why? 

John — I like my support too well. 

(Yetta makes him comfortable in big, easy chair.) 

Curtain. 

Plenty of time should be given to Scenes III., IV., V. 
An opportunity is given for demonstrating all the gar- 
ments and surgical dressings made in Red Cross Chap- 
ters, thus making the play instructive, as well as en- 
tertaining. 

Scene VI. 

Finale. 

Parlor scene in America. Girls all dressed for even- 
ing, sit or stand expectantly. Sara comes in, goes to 
the piano. Dolly comes forward and sings "Oh, 
Promise Me." Then follows Wagner's Wedding March. 
The minister enters and stands well to the front with 
back to audience. Enter bridal party, grouping them- 
selves to left and right. As bride and bridegroom kneel 
before the mininster, Anne Kathryn steps forward and 
says slowly and distinctly, "Do you remember the pro- 
phecy? Go to France — Do your bit, meet your fate, 
■come home and live happy ever after?" 

Curtain falls. 

Curtain up with all the players grouped around 
bridal party. 

Audience rises and joins in singing "Star Spangled 
Banner." 



Patriotic Songs. 

(i) That Red Cross Girl of Mine. 

(2) America, Here's My Boy. 

(3) If I had a Son for each Star in Old Glory. 

(4) Joan of Arc. 

(5) Good-Bye, Germany. 

(6) Long Boy. 

(7) Over There. 

(8) The Long, Long Trail. 

<9) Keep the Home Fires Burning. 



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